what a solid groove;what a breathless airless back-stabbin' bitchin' stabberin' staggerin intro.oh yeah.the guitars on this are triumphant.a resurgence and reanssaince however you mispell it; it or mispell misspell.if they gonaa come up with a red unerline then the robots can fix it thermselves.is the way hopkins sees it.

yeh they red inderlining 'hopkins' too; frickin robots...anyway,good tune.they probably gonna air it out the new tour...i'm guesssin...

Quotehopkinswhat a solid groove;what a breathless airless back-stabbin' bitchin' stabberin' staggerin intro.oh yeah.the guitars on this are triumphant.a resurgence and reanssaince however you mispell it

Well said, hopkins.

I think AC/DC deserve a little of the credit for SMU ... that gloriously funky, deliriously crunchy guitar sound was so prevalent on Back in Black, a massively successful album released the year before, and although AC/DC's sound was an outgrowth of many Stones classics, I'll bet Keith and Mick were paying attention.

yep you can give that little midget a world of credit.i'd join right in; i've several versions of whole lotta rose with the original crew pretty much; don't have to convince old hoppy on that one...

yeh throw that little guy a sandwich as well as some credit.it's like the incredible shrinking man video...i mean the Stones are not the size of normal peepole, we all know that.that's part of why we love them; we know when theyu say 'get down' it's a challenge to meet them on their own level . sorta...kjust go with it ok...ok..

so...

yeh; angus; sure; throw malcolm in ther for all i care.miss that boy; miss him a lot. God rest his beautiful soul.

---

rock and roll soldiers on the firing line decade after decade.always bare bonesin' it...i've never seen them live but have a world of respect and love for them...they are this beautiful beautiful reliable awesome thing forever.

Quotehopkinswhat a solid groove;what a breathless airless back-stabbin' bitchin' stabberin' staggerin intro.oh yeah.the guitars on this are triumphant.a resurgence and reanssaince however you mispell it

Well said, hopkins.

I think AC/DC deserve a little of the credit for SMU ... that gloriously funky, deliriously crunchy guitar sound was so prevalent on Back in Black, a massively successful album released the year before, and although AC/DC's sound was an outgrowth of many Stones classics, I'll bet Keith and Mick were paying attention.

Quotehopkinswhat a solid groove;what a breathless airless back-stabbin' bitchin' stabberin' staggerin intro.oh yeah.the guitars on this are triumphant.a resurgence and reanssaince however you mispell it

Well said, hopkins.

I think AC/DC deserve a little of the credit for SMU ... that gloriously funky, deliriously crunchy guitar sound was so prevalent on Back in Black, a massively successful album released the year before, and although AC/DC's sound was an outgrowth of many Stones classics, I'll bet Keith and Mick were paying attention.

Drew

Even though SMU was recorded in 1977? That's funny.

Early reggae-style takes yes but not the version where everything suddenly gelled.

Quotehopkinswhat a solid groove;what a breathless airless back-stabbin' bitchin' stabberin' staggerin intro.oh yeah.the guitars on this are triumphant.a resurgence and reanssaince however you mispell it

Well said, hopkins.

I think AC/DC deserve a little of the credit for SMU ... that gloriously funky, deliriously crunchy guitar sound was so prevalent on Back in Black, a massively successful album released the year before, and although AC/DC's sound was an outgrowth of many Stones classics, I'll bet Keith and Mick were paying attention.

Drew

Even though SMU was recorded in 1977? That's funny.

Early reggae-style takes yes but not the version where everything suddenly gelled.

Quotehopkinswhat a solid groove;what a breathless airless back-stabbin' bitchin' stabberin' staggerin intro.oh yeah.the guitars on this are triumphant.a resurgence and reanssaince however you mispell it

Well said, hopkins.

I think AC/DC deserve a little of the credit for SMU ... that gloriously funky, deliriously crunchy guitar sound was so prevalent on Back in Black, a massively successful album released the year before, and although AC/DC's sound was an outgrowth of many Stones classics, I'll bet Keith and Mick were paying attention.

Drew

Even though SMU was recorded in 1977? That's funny.

Early reggae-style takes yes but not the version where everything suddenly gelled.

No. It's wafer thin to me. All style, no substance. At BEST, it sounds like The Stones.

Agreed. There's really not much to it. As someone here once pointed out, with Exile the band achieved what they had set out to do in 1962. I think that after that point, there was nothing left for them to do. It's not a bad record, but you can kind of sense them sort of flailing around with GHS, and after that they settled into being a good time party band. This song is the apotheosis of that phase.

Quotehopkinswhat a solid groove;what a breathless airless back-stabbin' bitchin' stabberin' staggerin intro.oh yeah.the guitars on this are triumphant.a resurgence and reanssaince however you mispell it

Well said, hopkins.

I think AC/DC deserve a little of the credit for SMU ... that gloriously funky, deliriously crunchy guitar sound was so prevalent on Back in Black, a massively successful album released the year before, and although AC/DC's sound was an outgrowth of many Stones classics, I'll bet Keith and Mick were paying attention.

Drew

Even though SMU was recorded in 1977? That's funny.

Early reggae-style takes yes but not the version where everything suddenly gelled.

Drew

Which was in... 1977.

Well I'll be damned, it sure was. Always thought it was just a reggae track until they started assembling Tattoo You in '81, but after some online sleuthing I've learned that you're absolutely right, there were indeed a couple of rocking versions recorded in the 70's, like this one.

QuotedrewmasterWell I'll be damned, it sure was. Always thought it was just a reggae track until they started assembling Tattoo You in '81, but after some online sleuthing I've learned that you're absolutely right, there were indeed a couple of rocking versions recorded in the 70's, like this one.

That's a working mix from 1981 that has vocal parts that were kept for the final version. So it's the same as the LP take. It's cool to hear how he was working out the vocals though, they're all over the place. Look at how long he worked on those songs, it's no wonder it took 3 months to do the vocals on the album, with supposedly the final touches for SMU done in NYC and who knows what else (that's been documented).

They were most likely using 24 track at that point but left a lot open for comping things like vocals and guitars, which is obvious with that working mix of SMU.

A lot of the titles on YouTube are wrong. "Demo" when it's clearly an album session, even the actual LP track - like that one - that's a work in progress, a playback, a work mix, etc. The vocals Jagger did for Start Me Up were done in 1981. The track was recorded in 1977. So yeah, no way it's from 1978 since Mick hadn't recorded vocals on it yet.